| The Ultimate Country Fake Book - 4th Edition
Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Publis...(+)
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Published by Hal Leonard.
(8)$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Country Book C Instruments [Fake Book] Hal Leonard
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 520 pages....(+)
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 520 pages. Published by Hal Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Best Fake Book Ever - 2nd Edition - Eb Edition
Eb Instruments [Fake Book] Hal Leonard
Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: H...(+)
Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 864 pages. Published by Hal Leonard.
(2)$49.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Nashville Number System Fake Book Guitar [Fake Book] Hal Leonard
By Various. Edited by Trevor de Clercq. Fake Book. Softcover. 224 pages. P...(+)
By Various. Edited by Trevor
de Clercq. Fake Book.
Softcover. 224 pages.
Published by Hal Leonard
$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lyrics Lyrics only [Sheet music] Hal Leonard
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Library. Softcover. Size 8.5x11 inches. 373 pages. Published by Hal Leonard.
(1)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Rise Up Singing
Lyrics and Chords [Sheet music] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.
(1)$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Rise Up Singing Lyrics and Chords [Sheet music] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.
(1)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hope Remains Within [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5 SKU: CF.YPS217F Composed by Zachary Cairns. Sws. Yps. Full score. 24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217F. Published by Carl Fischer Music (CF.YPS217F). ISBN 9781491156551. UPC: 680160915095. 9 x 12 inches. Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.). Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar†seems to be a more accurate translation for what we commonly call “Pandora’s boxâ€) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.). $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Hope Remains Within - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5 SKU: CF.YPS217 Composed by Zachary Cairns. Folio. Yps. Set of Score and Parts. 8+8+4+8+8+4+2+6+4+4+4+8+8+8+8+6+6+6+4+6+4+2+2+4+6+10+24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217. Published by Carl Fischer Music (CF.YPS217). ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches. Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.). Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar†seems to be a more accurate translation for what we commonly call “Pandora’s boxâ€) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.). $75.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Prophesies [Score and Parts] Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score and Parts. Composed by Mohammed Fairouz. Sws. Score and parts. With Standard notation. 68 pages. Duration 25 minutes. Theodore Presser Company #114-41903. Published by Theodore Presser Company (PR.114419030). ISBN 9781491114124. UPC: 680160669851. 9 x 12 inches. A fascination with polycultural synergy between diverse literary textsdrives the inspiration for much of Mohammed Fairouz’s prodigiouscreative output, including instrumental music as well as vocal. Inhis profound and extensive essay preceding the score, Fairouz shedslight on how Edgar Allen Poe’s “Israfel” relates to the prophetsand prophesies of the Quran, Old Testament, and New Testament.The eight-movement quartet may be heard as a dramatic galleryof portraits and of story-telling, flourishing in a post-traditionallanguage that is at once vernacular and spiritual, Middle Easternand Western. The complete set of score and parts is included in thispublication. (See pages 2-3 of score for clear distinction of paragraphs, etc.)Prophesies, by Mohammed FairouzEdgar Allen Poe’s rendition of Israfel was the point of departure for the final movement of my previous stringquartet which is titled The Named Angels. At the opening of his poem, Poe evokes the Quran:“And the angel Israfel, whose heartstrings are a lute, and who has the sweetest voice of all God’s creatures.”This informs the first lines of the poem that, in turn, gave me the title for the final movement of The Named Angels,“Israfel’s Spell”:In Heaven a spirit doth dwell“Whose heartstrings are a lute”None sing so wildly wellAs the angel Israfel,And the giddy stars (so legends tell),Ceasing their hymns, attend the spellOf his voice, all mute.It is the end of that poem, however, that is the starting point for the current quartet, Prophesies, which concernsitself with mortal prophets rather than eternal Angelic spirits.If I could dwellWhere IsrafelHath dwelt, and he where I,He might not sing so wildly wellA mortal melody,While a bolder note than this might swellFrom my lyre within the sky.Islamic thought has asked us to look at the example of the prophets. That’s significant because of the fact thatJoseph and all the prophets were human beings with the flaws of human beings. No prophet was perfect, andIslamic tradition has never asked its followers to aspire to the example of the Angels, the perfected ones. Instead weare given the gift of our prophets. While The Named Angels drew on the motion and energy of everlasting spirits,Prophesies is a depiction of the movements within our own mortal coil.This quartet is a continuation of a long tradition of Muslim artists telling their stories and singing their songs.Many of these renditions are, in fact, figurative and (contrary to popular belief) the Quran contains no “Islamicedict” prohibiting figurative renditions of the figures described in the Old Testament, New Testament, or Quran.The majority of artists, however, have preferred eternal and abstract forms such as words and their calligraphicrepresentations, poems (Yusuf and Zuleikha or the Conference of Birds come immediately to mind), architecture,and many other non-figurative art forms to the representation of man. These cold, ancient, and everlasting shapesof unending time flourished, and the divine infinity of representing geometric forms gained favor over the placementof the explicit representation of mankind and our own likeness at the center of the universes.Adding the string quartet to these forms which express the recursive spheres of heavens and earth abstractly shouldexplain why I have chosen to render higher things through the use of music without the addition of words or anyother art-form. It is the abstract art of pure form, in which all is form and all is content, which compels me. Thisquartet should be seen as no more programmatic than the arches of the Great Mosque at Cordoba.The first movement, Yāqub (Jacob), is slow, quiet and prayerful. It evokes the patient sorrow of a slow choraledeveloping over time as it coaxes our pulse out of the ticking of a clock-like meter that defines our day-to-day livesand into a divine eternity.The second, Saleh, imagines the spirit of that desert-prophet through the use of a Liwa; the dance-sequence that hasbeen such a prevalent form of expression in the Arabian Peninsula for much of our recorded history.The third movement is titled Dawoōd, and it is emblematic of the beloved Prophet, King, and Psalmist, David.Though it has no lyrics, the movement functions as a dabkeh (an ancient dance native to the Levant) and also “sets”the opening of Psalm 100 (Make a joyful noise unto the Lord, all ye lands). This line is never set to music or sung inthe quartet but is evoked through the rhythmic shape of the violin part which imitates the phonology and rhythmof my speaking the opening line in the Hebrew and develops the contours of that line incessantly throughout themovement.3The fourth movement is an ode to Yousef (Joseph) and relates to the first movement in tempo and tone just as Josephrelates to Jacob, his father. Together, the first and fourth movements provide a sort of Lamentation and relief.Joseph had the appearance of a noble angel, but he was very much a human being. And the story of this particularprophet had tragic beginnings many years before he found himself in a position of power in Egypt. Back in his youth,still among the Israelites, Joseph experienced a series of revelations through his dreams that spoke of his impendingcareer in prophecy. He confided his dreams to his father, the Prophet Jacob, who told his son of the greatness thatawaited him in his future only to have his brothers throw him into a well and leave him for dead. Joseph eventuallyfound his way from Israel to Egypt and rose out of slavery into a position of power. Meanwhile, famine engulfs Israel.Forty years pass, and back in the land of Jacob and Rachel, of Joseph’s brothers and Abraham’s tribe, Israel wasnot spared the effects of the famine. They sorely lacked Joseph’s prophecy and his vision. The Qur’an then tells usthat Jacob, sensing Joseph, sends the other brothers to Egypt instructing them to come back with food and grain.Arriving in Egypt, they unwittingly appear before Joseph. They don’t recognize their little brother who has risen toa position of might, dressed in his Egyptian regalia. They ask for the food and the grain.After some conversation, Joseph is no longer able to contain his emotion. Overcome, he reveals himself to his nowterrified brothers. He embraces them. He asks them eagerly, “How is our father?” Joseph gives them the gift of thefood and the grain that they came in search of. He relieves them from hunger and alleviates their fear. He sendsthem back with proof that he is alive, and it is this joyful proof from the miraculous hands of a prophet that bringsback the ancient Jacob’s vision after 40 years of blindness.In this story, I am struck by the fact that Joseph may not have made the decision to forgive his brothers on thespot, but that something inside the prophet’s soul found forgiveness and peace for the brothers who had so gravelywronged him at some point along his journey. I would suspect this point to have been present at Joseph’s inception,even before he had ever been wronged.This is proof, if we needed it, that Joseph’s angel-like beauty was not only physical and external, but also internalas well: Joseph possessed a profound loveliness of spirit that bound his appearance and his soul. In Joseph, formand soul are one.Time is to musicians what light is to a painter. In this way, the story of Joseph also shows us that time can affectour perception of even the most tragic wounds. In fact, the most common Arabic word for “human being” is insaan,which shares its roots with the word insaa, “to forget.” While our ability to remember is essential to how we learnabout ourselves, our capacity to “forgive and forget” may also be one of our great gifts as human beings.The fifth movement follows my ode to Joseph with a structural memory of Mūsa (Moses). The movement consistsentirely of descending motifs which I constructed as an indication of Moses’ descending movement as he emergedto his people from the heights of Mt. Sinai. The music is constructed in five phrases which function as a formalreference to the five books of Moses, the Pentateuch. The movement is placed as the fifth of the quartet for the samereason.While Joseph is always evoked as supremely beautiful in the Books of Judaism, Christianity, and Islam, Suleiman(Solomon) is described as surpassing in his quicksilver intelligence. This movement is composed of a seven-partriddle which passes by in an instant but can be caught by the attentive listener. From Solomon, we work our wayback to Yishak (Isaac) in a seventh movement that evokes Isaac’s literal meaning in Arabic and Hebrew: laughter.The eighth and final movement of this quartet is named for the Patriarch of the entire Book: Ibrahim (Abraham). Itrelates to Isaac just as Joseph relates to Jacob; they are father and son. The lines are prayerful and contemplative;the form of the music evolves from a fugue joining together many different forms of prayer into a single tapestry ofcounterpoint, to the cyclical form of this entire quartet which is rendered through the motion of pilgrims circling theKaaba (cube) in Mecca — a structure which was built by Abraham for Hagaar and their son Ismail.These are just some of the figures that are cherished by all three of the Middle Eastern monotheisms (Judaism,Christianity, and Islam) that the Qur’an refers to collectively as Ahl Al-Kitab. This Arabic phrase is most commonlytranslated as “The People of the Book,” but here the most common translation is a flawed one: the Arabic word“ahl” means “family” and not just “people.” A better translation would be “Family of the Book.” Each of the eightmovements of Prophesies grows from a single musical cell.This quartet is a family album.—Mohammed Fairouz (2018. $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Country Favorites Book Guitar [Sheet music] - Easy Hal Leonard | | |
| Music From The Movies Big Screen Piano solo Music Sales | | |
| Big Acoustic Guitar Chord Songbook Classic Country Music Sales | | |
| Music From The Movies: Film Noir Piano solo Music Sales | | |
| The Little Black Songbook: Country Music Sales | | |
| CMT's 100 Greatest Songs of Country Music
Guitar notes and tablatures [Sheet music] - Easy Hal Leonard
Easy Guitar with Standard Notation & Tab. By Various. Easy Guitar (Simplified ar...(+)
Easy Guitar with Standard Notation and Tab. By Various. Easy Guitar (Simplified arrangements for guitar). With notes and tablature. Size 9x12 inches. 342 pages. Published by Hal Leonard.
(2)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| CMT's 100 Greatest Songs of County Music Piano, Voice [Sheet music] - Easy Hal Leonard
By Various Artists. Easy Piano Songbook (Easy arrangements for piano and voice)....(+)
By Various Artists. Easy Piano Songbook (Easy arrangements for piano and voice). Softcover. 440 pages. Published by Hal Leonard.
$24.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| CMT 100 Greatest Songs of Country Music
Piano, Vocal and Guitar [Sheet music] Hal Leonard
Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords...(+)
Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 416 pages. Published by Hal Leonard.
(10)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Grand Ole Opry! Lyrics and Chords [Sheet music] Hal Leonard
Guitar Chord Songbook. By Various Artists. Guitar Chord Songbook. Softcover. 170...(+)
Guitar Chord Songbook. By Various Artists. Guitar Chord Songbook. Softcover. 170 pages. Published by Hal Leonard.
$16.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 100 Greatest Country Artists Piano, Vocal and Guitar - Intermediate Hal Leonard
100 Songs by 100 Artists. By Various. Piano/Vocal/Guitar Songbook. Country. So...(+)
100 Songs by 100 Artists. By
Various. Piano/Vocal/Guitar
Songbook. Country. Softcover.
450 pages. Published by Hal
Leonard
$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The 16-Bar Theatre Audition - Tenor Tenor voice, Piano [Sheet music] - Intermediate Hal Leonard
(100 Songs Excerpted for Successful Auditions). Edited by Michale Dansicker. For...(+)
(100 Songs Excerpted for Successful Auditions). Edited by Michale Dansicker. For tenor voice solo and piano accompaniment. Vocal Collection. Broadway, Movies and Pop. Difficulty: medium. Songbook. Vocal melody, lyrics, piano accompaniment, chord names and introductory text. 174 pages. Published by Hal Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Bells Of Rhymney [Sheet music] Oak Archives | | |
| The Little Black Book Of Solid Gold Hits Music Sales | | |
| Tom Paxton: The Honor Of Your Company Melody line, Lyrics and Chords [Sheet music] Cherry Lane
Performed by Tom Paxton. Guitar/vocal songbook for voice and guitar. With vocal ...(+)
Performed by Tom Paxton. Guitar/vocal songbook for voice and guitar. With vocal melody, lyrics, chord names, introductory text and black and white photos. 142 pages. Published by Cherry Lane Music.
(2)$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fantasy for Piano C major op. 15 D 760 Wanderer Fantasy Piano solo Barenreiter
Composed by Franz Schubert (1797-1828). Edited by Walther Durr. For piano solo. ...(+)
Composed by Franz Schubert (1797-1828). Edited by Walther Durr. For piano solo. This edition: Urtext edition. Stapled. Level 6. Performance score. Text Language: German/English. Opus 15, D 760. Published by Baerenreiter Verlag
$14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
Next page 1 31 61 |